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H-lS-tt 





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PROFESSIONAL TUMBLERS PRACTISING THEIR ACT OUTSIDE THE 
CIRCUS TENT. 




nl-lg — ; ■■ -lUBl 

— Q I — Spalding "Red Cover" Series of C_I 1 

I Athletic Handbooks (J-^ ' ■ 

No. 56B "IT 



TUMBLING 

FOR 

AMATEURS 



JAMES T. GWATHMEY, M.D. 
If 




PUBLISHED BY 

AMERICAN SPORTS PUBLISHING 
COMPANY 

is Rose Street, New York t — ' ^ 

D 







Copyright, 1919 

BY 

American Sports Publishing Compant 
Nkw York 



A5855a7 



SPALDING'S ATHLETIC LIBRARY. 



TUMBLING FOR AMATEURS 



Teachers, especially in public gymnasia, where the attend- 
ance is voluntary, will welcome anything that will make the 
exercises more attractive and do away, as far as possible, 
with the idea of "work." 

Tumbling should form a part of every system taught in our 
public gymnasia, and to those who have not heretofore 
studied the subject we submit the following propositions: 

1. Tumbling will develop, harmoniously, the whole body 
without the aid of any apparatus whatever, or any other set 
of exercises. A careful study of the physiques of professional 
tumblers will verify this statement. 

2. The exercises can be easily graded, so that there will be 
absolutely no danger in going from primary to advanced 
tumbling. In individual tumbling, the body being always 
close to the ground, the chances of a break or a sprain are 
reduced to a minimum; and in comparison with other forms 
of exercise, such as boxing, wrestling, or apparatus work, 
the percentage of accidents will be found to compare most 
favorably. 

3. Friends can enter into the keenest competition, urging 
each other to the highest possible development and perfec- 
tion, and never experience the inconveniences of black eyes 
and bruises — the usual resultants of combative exercises. 

4. At least 50 per cent, of those entering the gymnasium 



4 SPALDING'S ATHLETIC LIBRARY. 

can participate in some form of tumbling, either individual 
or combination; the greatest progress for adults being at- 
tained in the latter, where two or more men exercise to- 
gether. 

5. No expensive appliances or apparatus is necessary in 
introducing or teaching tumbling, the mats absolutely essen- 
tial in any gymnasium being all-sufficient for ordinary class 
work. But if tumbling is to be made a feature, then a large 
mat, 15 feet long by 6 feet wide and 2 feet high and stuffed 
with straw or hay, will be found a very attractive addition, 
as it can be used to great advantage with any gymnastic ap- 
paratus. 

6. For boys, tumbling is the most natural exercise in the 
world, as they are easily interested and held in this form of 
exercise when a dumb-bell drill would run them away. Be- 
sides the development, they get co-ordination and control to 
a remarkable extent, which will be invaluable to them in any 
exercise that they may engage in later on. 

7. A tumbler easily adapts himself to all gymnastic ap- 
paratus, and will usually be found to be more graceful than 
an exclusive apparatus worker. If teachers who have never 
used tumbling would introduce it, it would do away, in a 
great measure, with that stiffness which is so distasteful to 
many; and, if as systematically taught as their apparatus 
work, would change the product of their gymnasiums from the 
top-heavy type to a symmetrical whole. 

8. It is the one universal exercise used by the whole human 
family from the earliest times to the dawn of the twentieth 
century, and will continue in use as long as the world lasts. 
The millions of babies tumbling in the world to-day, learning 



SPALDING'S ATHLETIC LIBRARY. 5 

their first physical exercise — to walk — reminds us that we 
have all taken a few lessons, at least, in this most useful art. 

9. Tumbling is of more importance than all other exercises, 
as, nolens volens, we all take a tumble occasionally; and if 
we know how to tumble — so as to land on our feet or keep 
from falling — it will give us a confidence that we would not 
otherwise have. There seems to be a very prevalent idea 
that if a man has never learned how to tumble before he is 
twenty-one he had just as well not start. On the contrary, if 
a person has never taken gymnastic exercises, he can make 
greater advancement in tumbling than in almost any other 
form of exercise, if his physique permits of tumbling at all. 
After acquiring a few of the exercises, tumbling can be prac- 
ticed with pleasure and satisfaction on any lawn, sand-bar, 
or sawdust pile, and in this way will prove of more practical 
utility than almost any form of gymnastics. 

A word of caution might not be out of place: In teaching 
adults (where a large mat, such as already described, is not 
used) the small mats cannot be piled too high to prevent 
jars and shocking surprises. If pupils suffer from dizziness, 
excuse them from these exercises. In combination tumbling 
the belt, or lunger, must always be put on for a first trial, 
however simple the exercise may appear. 

In the following pages I have depended almost entirely 
upon the illustrations, and have intentionally made the text 
as short and concise as possible — following the plan of 
Messrs. Hitchcock and Nelligan's most excellent work, 
"Wrestling." I' am also indebted to Dr. William Anderson, 
of Yale University, for many valuable suggestions. 

JAMES T. GWATHMEY. 



SPALOING'S ATHLETIC LIBHARY. 



PRIMARY TUMBLING 



1. The Forward Roll Over. Double up close, and finish 
standing erect on toes. Figs. 1, 2, 3. 

2. The Forward Roll Over, grasping toes throughout roll. 
Fig. 4. 

3. The Forward Roll Over, grasping toes, legs crossed 
Fig. 5. 

4. The Forward Roll Over, arms between legs, hands on 
outside cf ankles. Fig. 6. 

5. The Forward Roll Over, arms between legs, hands 
clasped. Fig. 7. 

6. The Forward Roll Over, arms at side horizontal through- 
out exercise. Do not touch mat with hands. Commence 
standing on right foot, swing the left to front to get momen- 
tum, and then under and back as you roll over to erect posi- 
tion on right foot again. Figs. 8, 9, 10, 11. 

7. The Forward Roll Over. Same as No. 6, startin* on left 
foot. 

S. The Forward Roll Over. To lying flat on back. 

9. The Forward Roll Over, with half-turn to face down- 
ward. 

10. The Forward Roll Over, feet spread, arms in different 
positions. 

11. The Forward Roll Over, arms folded, come to standing 
position. 



SPALDING'S ATHLETIC LIBRARY. 7 

12. The Backward Roll Over. Repeat all of the foregoing 
backwards. 

13. A Dive is a jump for height or distance, alighting on 
hands. Bend arms, duck head, and forward roll over. Never 
strike middle of back first. Commence with the forward roll 
over (Figs. 1, 2, 3), and gradually increase the height or dis- 
tance until you can finally go your full limit without jolting or 
bumping yourself in the least. The rise is usually from 
both feet. 

14. Dive (1) for distance, (2) for height. 

15. Combine the Forward Roll Over and Dive for (1) Dis- 
tance, (2) for Height. 

16. Fall Forward without Bending at Hips, with knees 
stiff; catch on hands. 

17. Fall Backward, stiff (stage fall). 

18. Fall Forward, with chest out, and back arched. Turn 
head to right or left. Continue rolling, and push over to feet. 

19. Combine Front and Back Roll Over, making continuous 
movement by crossing legs as you finish the front roll. 

20. Combine Back and Front Roll Over. 

21. Combine Front, Back, and Front Roll Over in quick 
succession. 

22. Combine Back, Front, and Back Roll Over in quick suc- 
cession. 

23. Roll Over Backward, straightening body as you go over 
to lying-down position on stomach. 

24. Lie on back, arms at side horizontal. Bring right hand 
close to side, turn head to right, and at same time bend at 
•waist, bringing feet over head, then snap over quickly on to 
stomach, facing in opposite direction. 



8 SPALDING'S ATHLETIC LIBRARY. 

25. Hold left toe with right hand and jump right leg 
through. 

26. Hold right toe with left hand and jump left leg through. 

27. Hold stick in hands, jump through and back in order 
to learn to double up close for back or forward somersault. 
Fig. 12. 

28. Head Stand. Place the hands in line on the mat, and 
the head between and about 10 inches in advance, forming 
an equilateral triangle; throw feet over head, with knees 
together and toes pointed upward; hold 30 seconds, then for- 
ward roll over. 

29. Hand Stand. Beginners can best learn this by placing 
the hands on floor 1% feet from wall and throwing the feet 
up against the wall. In practising hand stands on the floor, 
come down easy to feet the same way you threw into posi- 
tion, or pick up right or left hand as you overbalance and 
come to feet, or bend arms and roll over. Fig. 13. 

30. Head Stand. Push up into hand stand without losing 
balance. 

31. Forward Roll Over into Head Stand. 

32. Backward Roll Over into Head Stand. 

N. B. — Do not compete in holding head stands for time. 
Caution boys especially against this foolish practice. 

33. "Bucking Broncho." Throw almost into hand stand, 
bend knees and push up hard with hands, throwing head and 
shoulders up and back, snap feet to floor and come to stand- 
ing position; jump to hands again and repeat. 

34. The Forward Roll Over into Hand Stand. 

35. The Backward Roll Over into Hand Stand. 

36. Body stiff, face downward, resting on hands and feet, 



SPALDING'S ATHLETIC LIBRARY. 17 

without raising either hand, jump between hands to lying- 
down position on back. 

37. Roll Down. From hand stand incline head and shoul- 
ders forward, bend arms until chest touches, keep back 
arched, roll to lying-down position on mat, then to knees, and 
jump to feet immediately. 

38. Head Stand and Roll Down. 

39. Lie on ba:ck, raise feet up in air, place the hands just 
above the hips, with elbows, upper arms and shoulders touch- 
ing mat, bend and straighten knees with a snap, thus pro- 
gressing backward on shoulders. 

40. Head Spring. Place head (touching upper part of fore- 
head, not the back of head) between and in advance of hands 
on mat. As you snap feet over shove hard from hands and 
head. Alight in standing position, with knees bent. Fig. 14. 

N. B. — Always place head on mat easily, thus obviating jars. 

41. Same as No. 40, only alighting knees stiff and back 
arched. 

42. Same as No. 40, without hands. 

43. Repeat No. 40, alight on right foot, and hold balance. 

44. Repeat No. 40, alight on left foot, and hold balance. 

45. Twisting Head Spring. Same as No. 40, only twist the 
body to right or left, and land facing starting position. 

46. The Balance Head Spring. From head stand bend at 
waist, with knees stiff, execute head spring without touching 
feet to floor. 

47. Same as No. 46, but with neck spring. 

48. Neck Spring (snap up). Place back of head and neck 
on mat between hands. Same movement as head spring. 
Fig. 15. 



18 SPALDING'S ATHLETIC LIBRARY. 

49. Neck Spring. Hands on front of thighs, shove hard 
with hands and head as you snap feet over. Fig. 16. 

50. Neck Spring with arms folded. Fig. 17. 

51. Hand Spring. Jump from either foot on to hands. 
Keep the arms perfectly stiff, and as the feet are thrown 
quickly over (chest and stomach well out and head back) 
shove hard from hands and alight on feet with bent knees. 
Figs. 18, 20. 

52. Leaping Hand Spring. Jump from both feet on to 
hands. Movement same as in No. 51. Touch hands lightly 
as you go over. Figs. 19, 20. 

53. Same as No. 51, only alight on balls of feet, with knees 
stiff, back arched, and perfectly erect position. 

54. The Cart-wheel. Either right or left side leading, keep 
the head back, chest and stomach well out, hands and feet 
as well separated as possible. If right side leads, place right 
hand on floor following with left, then left foot followed by 
right. Continue movement by keeping in a straight line. 

55. Round Off. Start as in cart-wheel, but hand spring 
movement, turn, snap the feet down quickly, and alight facing 
starting-point. 

56. Roll over backward to back of neck and snap up. 

57. Jump, turn in air, alight facing starting-point, and back 
roll over. 

58. Combine hand stand (Fig. 13) and snap up (Fig. 15). 

59. A row of hand stands and snap ups in quick succession. 

60. Combine two, three, or four head springs in quick suc- 
cession. 

61. Combine two, three, or four neck springs in quick suc- 
cession. 



SPALDING'S ATHLETIC HBRAKY. 19 

62. Alternate Head and Neck Springs in quick succession. 

G3. Hand Walk. Throw up into hand stand, and as you 
overbalance take a step forward with either right or left 
hand, and continue. 

64. Hand Walk Forward. 

65. Hand Walk Backward. 

66. Hand Walk in Circle. 

67. Hand walk forward, turn, and come back to starting- 
point. 

08. Hand walk forward, touching chest at each step. 

69. Hand walk, forward roll into hand stand, and repeat. 

70. Two head springs into hand stand, roll down (37), pull 
through (36), and snap up (48). 

71. Dive, back roll into hand stand, to neck, and snap up. 
The combinations of the foregoing movements are infinite, 

and the inventive teacher can repeat the same exercises in a 
different order or combination, making new movements out of 
the old ones, and thus keeping up the interest and enthusiasm 
from day to day. Select ten or twelve movements from the 
preceding list, and give as a drill for one lesson. Change the 
order, and repeat for next lesson; but give an entirely differ- 
ent drill for third lesson. As the pupils advance let them put 
in their own combinations at the end of each lesson. 



SPALDING'S ATHLETIC LIBRARY. 



ADVANCED TUMBLING 

'Note. — Advanced tumbling should never be attempted alone 
the first time. A belt, with an assistant on either side, is the 
usual method of practising these exercises. Do not hurry. Prac- 
tise one movement day after day until you are proficient, re- 
membering that a difficult movement once mastered is as sim- 
ple as any other, and that after learning you can execute them 
with ease and impunity. It is folly, not bravery, to attempt 
movements by yourself that you are not sure of; and you are 
the one to decide this, not others. 

1. Back Somersault. From standing position, hands by the 
side, spring straight up (do not bend forward as you stoop 
for spring), throwing hands high above head; throw the head 
back, and, grasping the knees, pull them well in at the highest 
point of jump, at the same time kicking the feet forward; let 
out, and come down straight. Fig. 21. 

2. From a hand stand snap to feet and a back somersault. 

3. Round off and a back somersault. 

4. Two, three, or four back somersaults in a swing. 

5. Forward run and back somersault. 

6. Cart-wheel, round off, and back. 

7. Front Somersault. Ran forward, and as you run increase 
your speed; spring from either right or left foot a distance of 
from 8 to 12 feet, landing on the balls of both feet, hands by 
the side (Fig. 70), chest out, and head erect (not forward); 
jump for height, lifting the body by a quick upward swing of 



SPALDING'S ATHLETIC LIBRARY, 21 

the arms, and at the highest point of the jump throw head 
and hands down with a snap, grasp the legs a short distance 
below the knees and pull in close and hard, doubling up close, 
then straighten out quickly and alight on balls of feet in erect 
position. Fig. 22. 

Note. — Make the jump for height the fastest part of the 
run, and as you jump increase your speed so as to get the 
greatest height attainable, double into as small a ball as pos- 
sible, and then let out and come down perfectly straight, and 
you have the ideal somersault. 

8. Standing Front Somersault. Hands by the sides (Fig. 
70), spring straight upward, lifting with arms and shoulders, 
and as you reach the limit of your height throw head and 
hands forward with a snap, grasping ankles and pulling in 
close; then let out again quickly. 

9. The Layout Front Somersault. (Done principally from 
the spring-board, although a few exceptionally fine jumpers 
can do it from the mat.) As you rise for the somersault 
throw the hands well out in front, with arms perfectly stiff, 
head up, chest out; hold this position for a second, then make 
a quick, close double as in the ordinary somersault; let out 
and come down straight. 

10. One Foot Front. Stand on one foot and execute regular 
somersault. 

11. Knee Front. From kneeling position raise to feet, regu- 
lar somersault. 

12. Head Spring and Front Somersault. 

13. Hand Spring and Front Somersault. 

14. Two Front Somersaults in Quick Succession. 

N. B. — A double somersault should never be attempted by 
amateurs. 



22 SPALDING'S ATHLETIC LIBRARY. 

15. Back Hand Spring, or "Flip" (the most difficult of all 
tumbling exercises). From standing position raise the heels, 
bend the knees, let the hands go back past sides, keep the 
body, from waist up, straight, stoop until hands can nearly 
touch the mat; from this position throw the hands swiftly 
forward and upward, at the same time raise on toes (but do 
not jump at all), arching the back well in, head and arms 
thrown as far back as possible; pull the body over by momen- 
tum of shoulders, body, and head. Figs. 23, 24, 25. 

16. Hand Stand, Snap to Feet, and Flip. 

17. Hand Stand, Snap to Feet, Flip, and Back. 

18. A Row of Flips; Two or More in Quick Succession. 

19. Alternate Flips and Backs. 

20. Round Off and Flip. 

21. Round Off, Flip, and Back. 

22. Twisting Flip. As the hands hit, twist the body and 
alight facing in opposite direction from which you started. 

23. A Series of Twisting Flips. The hands strike about the 
same place each time. 

24. Twisting Back. Regular movement, only throw head 
hard to right or left and alight facing opposite direction from 
which you started. Fig. 74. 

25. Hand Stand, Snap to Feet, and Twisting Flip. 

26. Round Off and Twisting Back. 

27. Running Twisting Forward Somersault. Regular move- 
ment, only throw head hard to right or left, and alight facing 
direction from which you started. 

28. Running Side Somersault. Alight sideways and turn 
sideways. 

Devise, invent, and make up your own combinations. 



SPALDING'S ATHLETIC LIBRARY. 



COMBINATION TUMBLING 

By this is meant a series of combinations by two or more 
men exercising together. In these exercises a belt must al- 
ways be put on for the first trial (or assistants stand on 
either side), however simple the exercises may appear, and 
must be kept on until the exercise is thoroughly mastered, 
which would mean that you have each other's time and act 
in unison. Work with the same men all the time; beware 
of strangers, even if both of you understand the exercises. 
Do not be afraid to use caution and common sense. Only 
combinations that can be mastered by business men with lim- 
ited time have been put in; the more dangerous ones, re- 
quiring much time, being intentionally omitted. In all of the 
following exercises No. 1 is the heaviest or "bottom" man; 
No. 2, "middle" man; and No. 3, "top" man (or lightest man). 

ELEPHANT WALK. 

1. Stand facing each other. No. 2 puts hands on No. I's 
shoulders, springs up and throws legs around No. I's waist, 
then leans backward and drops between No. I's legs, who then 
bends forward and places hands on floor keeping knees stiff; 
No. 2 places hands on No. I's heels and straightens arms; 
No. 1 then walks off (also with a small boy on top), or un- 
twists legs and both do a roll o^'er. Fig. 26. 



ii SPALDING'S ATHLETIC LIBRARY. 

WALK OFF. 

2. No. 2 makes hand stand, feet well apart; No. 1 steps in, 
letting legs rest on hips, and grasps heels of No. 2, who 
straightens himself, arms folded; No. 1 then walks off with 
him. For first part of movement see Fig. 96. 

HAND STAND ROLL. 

3. No. 1 stands erect; No. 2 makes hand stand close to No. 
I's heels, his legs dropping over No. I's shoulders, who grasps 
No. 2's ankles, bends forward, quickly pulling No. 2 over to a 
standing position; No. 1 now does a hand stand and is thrown 
over by No. 2. Repeat in quick succession. For first part of 
movement see Fig. 99. 

DOUBLE ROLL. 

4. No. 1 lies on back, legs raised to vertical, with knees 
slightly bent, and grasps No. 2's ankles, who stands close to 
his head and also grasps No. I's ankles; No. 2 dives forward, 
held back slightly by No. 1 to break his fall; continue roll. 
Fig. 27. 

5. Repeat No. 4 backward. 

HANDS BETWEEN LEGS AND PULL OVER. 

6. Facing same direction, No. 2 leans forward and places his 
arms between his own legs; his wrists are grasped by No. 1, 
who lifts (as No. 2 jumps) and throws him over to his feet. 
Figs. 28, 29. 

BACK TO BACK AND OVER. 

7. Stand back to back, arms extended vertically, grasp each 
other's hands, heads turned to opposite sides; No. 2 springs 
and No. 1 pulls No. 2 over shoulders to feet. No. 2 must never 
relax muscles on this exercise. Figs. 30, 31. 



SPALDING'S ATHLETIC LIBRARY. 29 

BALANCE ON HEAD AND THROW OVER. 

8. Facing in same direction, No. 1 grasps No. 2 on either 

side of belt, and No. 2 grasps No. I's wrists and springs up, 

assisted by No. 1 lifting, and comes to balance position on 

No. I's head; No. 2 then throws his head back, pulls legs up 

and snaps over to feet, assisted by a slight push from No. 1, 

Figs. 32, 33 

THROW OVER HEAD. 

9. Same as No. 8, only in quicker time. No. 2 does not 
touch head of No. 1, who holds his arms perfectly stiff, and 
throws No. 2 over his head in one movement. Fig. 34. 

10. Leap-frog, roll over, and continue. 

STRADDLE VAULT OVER. 

11. No. 1 places one hand under No. 2's crotch; No. 2 places 
both hands on No. I's head and vaults over. Figs. 35, 36. 

STRADDLE OVER FROM FLOOR. 

12a. No. 2 lies down and No. 1 places foot close up and be- 
tween No. 2's legs and grasps both hands of No. 2, who 
springs up and straddle vaults over, while No. 1 pulls, then 
pushes his hands to horizontal with quarter turn of body. 

STRADDLE OVER AND HAND SPRING. 

12b. Position and first part of movement same as No. 12a, 

only No. 1 grasps No. 2's wrists; as No. 2 passes over No. 

I's head, he doubles up close and does a hand spring from 

No.' I's hands. 

LOW ARM HAND STAND. 

13. No. 1 lies on back, feet apart; No. 2 steps in and, bend- 
ing forward, they place hands on each other's shoulders; No. 
2 does hand stand. No. 1 holding him in position. Fig. 37. 



30 SPALDING'S ATHLETIC LIBRARY. 

HIGH ARM HAND STAND. 

14. Facing each other, hands on shoulders, No. 2 jumps up, 
crossing feet behind back of No. 1, who leans over and im- 
mediately comes to erect position; No. 2 pushing up into 
high arm stand. Figs. 38, 39, 40. 

HIGH ARM HAND STAND. 

15. Repeat No. 13. No. 2 is let down easily by No. 1, and 
rolls over, retaining hold on each other's shoulders, to lying 
down position on backs; No. 1 does a quick back roll, and 
lands on feet between No. 2's spread legs, and immediately 
pulls No. 2 (who assists by jumping) to high hand to shoulder 
stand in air. Fig. 40. 

16. From position of Fig. 39, No. 1 throws No. 2 hand spring 
over head, 

PULL UP FROM FLOOR. 

17. Facing each other, and six feet apart. No. 2 dives half- 
way over, keeping palms of hands on mat by side of head, legs 
vertical; No. 1 grasps ankles and gives him a quick pull up 
and throw away; No. 2 assisting by pushing with his hands 
and head, and coming to standing position facing No. 1. Figs. 
41, 42. 

IS. Same as No. 17, only both face same direction; No. 2 
does forward roll; No. 1 pulls No. 2 to feet. 

BACK FROM FOREARMS. 

19. No. 1 stands body straight, feet spread, knees bent, and, 
interlacing fingers, holds forearms horizontal; No. 2 places 
hands on No. I's shoulders, jumps to forearms, and back 
somersaults off. Figs. 43, 44. 



SPALDING'S ATHLETIC LIBRARY. 31 

ONE LEG FORWARD. 

20. Facing same direction, one foot apart, No. 2 bends knee 
and places right or left ankle in No. I's hands; No. 2 jumps 
directly up (assisted by No. 1), cuts close, and does a high 
forward somersault, coming down straight. Figs. 45, 46. 

MOUNT TO SHOULDERS. 

21. No. 1 facing front. No. 2 to left of No. 1 and right face; 
No. 1 bends knees slightly, feet well apart, holds right hand 
over head, palm up, and grasps No. 2's right hand, also No. 
2's left with his left hand; No. 2 places left foot on No. I's 
left thigh; as each pulls hard with right hand, No. 2 jumps 
and places his right foot on No. I's right shoulder and left on 
left shoulder, lets go of No. I's hands and stands erect, heels 
together on balls of feet, knees straight, and legs pressing 
hard on No. I's head. Figs. 47, 48. 

MOUNT TO SHOULDER WITHOUT HANDS. 

22. Position same as in No. 21, only No. 1 folds arms; and 

No. 2, taking a short run, mounts to shoulders without using 

hands. 

LIFT TO SHOULDER. 

23. Facing in same direction, No. 1 grasps No. 2's hands and 

lifts to shoulders. No. 2 doubling up close in order to bring 

his feet to No. I's shoulders. For first part of movement see 

Fig. 57. 

TO DISMOUNT. 

24. No. 1 reaches up and grasps hands of No. 2, who jumps 
down between. 

25. Both lean forward as far as possible; No. 2 jumps to 
feet, and both do a forward roll over. 



32 SPALDING'S ATHLETIC LIBRARY. 

BACK FROM SHOULDERS. 

26. Mount as in No. 23; sis No. 2 jumps, No. 1 assists by 
lifting hard. Fig. 49. 

FRONT FROM SHOULDERS. 

27. Mount as in No. 23; as No. 2 jumps, No. 1 assists by 
lifting hard. Fig. 50. 

CROTCH BACK. 

28. Facing each other. No. 1 places hands under No. 2's 
crotch, and lifts hard; No. 2 doing a regular back somer- 
sault. Figs. 51, 52. 

CHOTCH FRONT. 

29. Facing in same direction, No. 1 grasps No. 2 by seat and 
lifts hard; No. 2 doing a regular front somersault. Fig. 53. 

PULL TO SHOULDERS. 

30. Facing each other. No. 2 leans forward, putting his 
hands between his own spread legs; No. 1 leans over and 
grasps No. 2's wrists; a quick pull lands No. 2 on his shoul- 
ders straddle seat. He then places his hands under thighs 
of No. 2, who, in turn, does a back somersault off, assisted 
by a slight shove from No. 1. Fig. 54. 

31. Same as No. 30, only No. 2 puts his feet on No. I'S 
shoulders. Back or forward somersault off. 

PULL TO SHOULDERS AND HAND SPRING OVER. 

32. Position same as in Fig. 54. No. 1 grasps No. 2's wrists, 
pulls him up, and places his hands on his shoulders; No. 2 
continues movement by hand spring over. > 



SPALDING'S ATHLETIC LIBRARY. 33 

NECK LIFT. 

33. Facing same way, No. 1 puts head between legs of No. 
2, who leans back quickly, and No. 1 straightens up and 
tosses him over his head; No. 2 doing back somersault move- 
ment. Figs. 55, 56. 

TWISTING BACK OVER HEAD. 

34. Same as No. 33, only No. 2 throws head quickly to right 
or left, and alights with back to No. 1. 

DOUBLE DIVE. 

35. Facing, and 6 feet apart, No. 1 dives forward, and as 
his head rests on mat — that is, half way over — with feet well 
apart. No. 2 dives over, comes to feet quickly; each turns, and 
repeat movement. 

TRIPLE DIVE. 

36. No. 1 in middle and facing No. 2, No. 3 back of No. 1 
and facing in same direction; No. 1 dives forward and No. 2 
dives over No. 1 (as in No. 35) ; No. 3 immediately dives over 
No. 2, and No. 1 has turned and now dives over No. 3; No. 2 
again dives over No. 1, and repeat as before. 

LIFT AWAY HAND SPRING. 

37. Facing in same direction. No. 1 grasps No. 2's hands and 
lifts him to standing position on shoulders; No. 2 jumps to 
mat between hands, and, without letting go, immediately 
jumps straight up, doubling up as he goes, stiffening arms and 
pressing hard against hands of No. 1, who pushes up, straight- 
ening arms; No. 2 continues on through, and does a hand 
spring from No. I's hands. Figs. 57, 58. 



34 SPALDING'S ATHLETIC LIBRARY. 

THREE JUMPS AND LIFT AWAY HAND SPRING. 

38. Position sairiie as Fig. 57, only No. 1 rests right Itnee on 
mat; No. 2 jumps over No. I's right arm, and immediately 
back to first position, in same manner over left arm, then 
over head and back again; No. Inow rises to feet imme- 
diately, No. 2 doing lift away hand spring as in No. 37. 

39. Same as No. 37, only go straight from mat to hand 
spring without going to shoulders. 

ONE LEG BACK. 

40. No. 2 places right leg in No. I's hands, leg horizontal, 
knee stiff; as No. 2 jumps and presses down with right leg No. 
1 lifts hard, throwing him a back somersault. Figs. 59, 60. 

LAY OUT BACK. 

41. No. 1 interlaces fingers, palms up, and stoops well down, 
feet spread; No. 2 places hands on shoulders (also without 
placing hands on shoulders) and right foot in his hands, 
jumps, straightei'ing right leg, and does a hollow back somer- 
sault, No. 1 lifting up hard. Figs. 61, 62. 

LAY OUT BACK. 

42. Same as No. 41, only No. 1 places hands behind back in- 
stead of in front. 

GAINER LAY OUT BACK. 

43. Same as No. 41, only No. 2 turns over No. I's head, 
alighting on opposite side from which he started. 

RUNNING FORWARD OVERHEAD. 

44. Position of No. 1 same as in No. 41; No. 2 runs, plac- 
ing hands on No. I's shoulders, and right foot in hands, jumps. 



SPALDING'S ATHLETIC LIBRARY. 35 

straightening right leg, and goes for regular front somersault, 
alighting with back to No. 1. 

HAND SPRING TO SHOULDERS. 

45. Facing each other, No. 1 bends knees slightly; No. 2 
takes a run and places hands on No. I's knees and does a 
hand spring up, assisted by No, 1 grasping him by hips. Now 
quick roll back from shoulders. Fig. 63. 

HIGH ARM HAND SPRING. 

46. No. 1 spreads feet and braces himself, bending knees and 
getting low; No. 2 takes a good run, places hands on shoul- 
ders of No. 1, who grasps his thighs and pushes him over 
for a hand spring. Fig. 64. 

PULL UP AND BACK FROM HANDS. 

47. Facing each other, and 6 feet apart, No. 2 rolls over and 
pushes his feet well up under him; No. 1 steps m, grasping 
No. 2's hands, pulls him up, and then pushes him up and 
away; No. 2. doubling up close, pushing hard with hands, 
throws head back and goes for back somersault. Figs. 65, 66. 

BACK FROM BACK. 

48. Facing in same direction. No. 1 bends over, placing 
hands on knees; No. 2 jumps to back, between shoulders, and 
does a back off, No. 1 lifting up hard. Figs. 67, 68. 

FORWARD FROM BACK. 

49. Facing each other, and about 20 feet apart. No. 1 stoops 
over, placing hands on knees; No. 2 runs and jumps on No. 
I's back, between shoulders, and immediately goes for front 
somersault, as from spring-board, No. 1 throwing hard. Fig. 
69. 



36 SPALDING'S ATHLETIC LIBRARY. 

HIGH HAND-TO-HAND HAND STAND. 
50. Lift to shoulders, as in No. 23. From position of Fig. 
91, No. 2 throws into hand stand. 

MOVEMENTS FROM POSITION OF FLOOR 

BACK FROM HANDS. 

51a. No. 1 lying on back, hands close to head; No. 2 steps 
in No. I's hands and does a back somersault, assisted by No. 
1. Figs. 70, 71. 

51b. Same as No. 51, only No. 2 takes a few steps and 
jumps in No. I's hands, going for back immediately. 

BACK FROM HANDS. 

52. No. 1 sits on floor, feet spread, and places hands in 
front, palms up; No. 2 steps in hands as before, and back out. 

FRONT FROM HANDS. 

53. No. 2 places toes in No. I's hands, and does a regular 
front, assisted by No. 1. Fig. 72. 

TWISTING BACK FROM HANDS. 

54. Same as No. 51, only No. 2 twists completely around by 
turning head to right or left as he goes over, and alights fac- 
ing in opposite direction from which he started. Fig. 73. 

HAND SPRING OVER FEET. 

55. Clasp hands (do not interlace fingers), No. 1 placing 
feet on No. 2's body. No. 2 jumps, and No. 1 pushes hard with 
feet and keeps his arms stiff. No. 2 pushing off with hands as 
he goes over. Figs. 74, 75. 



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SPALDING'S ATHLETIC LIBRARY. 45 

HAND SPRING FROM FEET. 

56. No. 2 grasps No. I's ankles and places feet against his 
body, same as in No. 55; No. 2 shoves hard from ankles as he 
goes over, keeping arms stiff in last part of movement. No. 1 
'•Iso holding his legs stiff in last part of movement. Figs. 
76, 77. 

HAND SPRING FROM KNEES OVER HANDS. 

57. No. 2 runs and places hands on No. I's knees and hand 
spring over. No. 1 shoving his shoulders, if necessary, as he 
goes over. Fig. 78. 

HAND SPRING FROM HANDS OVER FEET. 

58. No. 2 steps in No. I's hands and grasps the bottoms of 
feet of No. 1, who holds legs stiff while No. 2 does hand 
spring over. Figs. 79, 80. 

BACK OVER FEET. 

59. Standing close to No. I's shoulders, No. 2 sits on his 
feet, leans back, and No. 1 pushes up hard; No. 2 doubles 
up for regular back. Figs. 81, 82. 

TWISTING BACK OVER FEET. 

60. Same as No. 59, only No. 2 throws head quickly to right 
or left and alights with back to No. 1. 

SIDE OVER FEET. 

61. No. 2 stands by side of No. 1, and sits on feet. Rest of 
movement same as in No. 59. Figs. 83, 84. 

PITCH BACK FROM FEET. 

62. No. 2 sits on No. I's feet and lays back; No. 1 kicks 
vigorously, No. 2 doing regular back movement, and landing 
away from No. 1 on same side from which he started, not 
turning over No. 1 at all. Figs. 85, 86. 



46 SPALDING'S ATHLETIC LIBRARY. 

BACK FROM FEET. 

63. No. 2 jumps on No. I's feet, gets a perfect balance, and 
does a back off. 

MOUNT TO FEET AND BACK OFF. 

64. No. 1 lies on back, feet up, hands on outside of thighs; 
No. 2 places right foot on No. I's left thigh, and presses in- 
side of knee against No, I's foot to steady himself. He then 
places left foot on No. I's left foot and, without touching 
hands, comes to an erect position, then back somersault off. 
Figs. 87, 88. 

HAND SPRING FROM ELBOWS. 

65. Facing each other, No. 1 places hands on knees, bend- 
ing over so that elbows project above back; No. 2 runs, places 
hands on elbows, and hand spring over. Figs. 89, 90. 

HAND SPRING FROM SHOULDERS. 

€6. Mount to shoulders as in No. 23, then hand spring off. 
Figs. 91, 92. 

PULL THROUGH TO FEET. 

67. Facing in same direction, No. 1 in front. No. 2 rolls to 
position on back, arms folded, and straightens knees so that 
his feet can be grasped by No. 1, ' who pulls him through 
quickly on to feet. Fig. 93. 

MISCELLANEOUS 

HAND SPRING OVER HEAD FROM HIPS. 

68. Facing each other, No. 1 places head between No. 2's 
legs and, grasping his knees, straightens up, throwing No. 2 
over his head, who assists movement by placing his hands on 
No. I's hips and pushing off hard, elbows stiff. Fig. 94. 



SPALDING'S ATHLETIC LIBRAKT. 47 

JUMP TO SHOULDERS IN FOUR JUMPS. 

69. No. 1 does a hand stand and roll down; No. 2 stands 
over him, feet on either side of thighs. No. 2 jumps on No. 
I's back thighs and immediately jumps straight up, No. 1 
coming to hands and knees, and No. 2 lands on No. -I's back 
just above hips; No. 2 again jumps straight up, and No. 1 
comes to feet with hands on knees; No. 2 jumps up again. No. 

1 comes to an erect position, and No. 2 lands on shoulders. 
Lean and roll over, 

WALK AROUND. 

70. Complete jump to shoulders as in No, 69; No. 1 bends 
and places right knee and then left on mat, now crosses feet 
and sits down, straightening legs out in front, then lies down, 
still holding and steadying No. 2 by ankles, who retains his 
erect position by standing on front of No. I's shoulders; No, 1 
brings legs up, feet well apart, and No. 2 steps on his right 
or left hock and mashes it down; No. 1 turns head to right or 
left and continues back roll, coming to hands and knees; No. 

2 steps up immediately on his back and does two jumps to 
shoulders (lean and roll over, or back or forward somer- 
sault off). 

DOUBLE ROLL OVER BACK. 

71. Get into position as in No. 2; No. 1 presses hard on 
heels of No. 2, who comes up quickly and continues move- 
ment by rolling on over No. I's back. Figs. 95, 96. 

HAND STAND AND DOUBLE OVER. 

72. No. 2 does a hand stand, and his ankles are grasped by 
No. 1, who stoops over quickly and assists No. 2 in turning 
"fce front somersault after leaving his shoulders, by pushing 



48 SPALDING'S ATHLETIC LIBRARY. 

up hard on No. 2's ankles (called a double — the body only 
turns once and a half). Figs. 97, 98, 99. 

TRIPLE ROLL. 

73. Same as No. 4, only three men grasp each other's ankles 
and roll forward. Fig. 100. 

BACK FROM THIGHS. 

74. Facing each other, No. 1 squats. No. 2 placing hands on 
No. I's shoulders; No. 2 jumps on his thighs, No. 1 catching 
him by calves; No. 2 does a back, assisted by No. 1 lifting 
and raising up. Fig. 101. 

FRONT FROM THIGHS. 

75. Facing in same direction. No. 1 stoops, and placing his 
head under No. 2's crotch lifts to shoulders, stoops and places 
No. 2*s feet on his thighs (or No. 1 grasps No. 2's hands and 
lifts to thighs) and grasps his ankles; No. 2 straightens up 
and No, 1 pulls his head out, and as No. 2 jumps for his for- 
ward No. 1 assists by raising up and lifting hard with hands. 

Fig. 102. 

THE BASKET. 

76. From this position either a back or front somersault can 
be easily thrown. No. 1 grasps his left wrist with right hand; 
No. 2, same; each then grasps the other's right wrist with left 
hand, thus forming basket. Fig. 103. 

KNEE THREE HIGH. 

77. No. 2 lifts No. 3 on shoulders, No. 1 then lifts No. 2 (and 
No. 3), No. 3 straightens up and leans forward. No. 2 pulls 
head out and holds No. 3 in position by ankles. No. 2 now 
raises up slightly and leans forward and No. 1 pulls head out 



SPALDING'S ATHLETIC LIBRARY. 49 

and, straightening up, completes the knee three high. No. 3 
jumps down and rolls over, followed by No. 2 and No. 1 in 
quick succession. Figs. 104, 105, 106. 

KNEE THREE HIGH AND FRONTS OFF. 

78. Build three high as in No. 77. No. 3 does a front off, 
then No. 2, and No. 1 does a standing front. Fig. 107. 

STILL MOUNT. 
(For Three High.) 

79. (The object is for No. 2 to mount to shoulders without 
moving No. 1 from his tracks. This should first be practiced 
a number of times on the floor, and then on top of the horse 
or buck. When practicing a three high the top mount should 
always have around his waist a belt suspended from the ceil- 
ing the first few trials.) Facing each other and clasping 
hands, No. 1 pulls No. 2 (who jumps) on his feet, hands above 
head; No. 2 places left hand on top of No. I's head, and 
clasps his right hand; No. 2 bends left leg and places his foot 
in No, I's left hand; No. 1 pulls hard with right hand and 
lifts with left. No. 2 assisting himself by pressing hard on No. 
I's head with left hand; No. 2 places right foot on No. I's 
right shoulder and left foot on left shoulder, and comes to an 
erect position. Figs. 108, 109, 110. 

THREE HIGH. 

80. No. 2 mounts to No. I's shoulders and grasps No. 3's 
hands (Fig. Ill) and pulls him to top of No. I's shoulders; 
No. 3 continues on up by still mount. Lean and fall. Fig. 112. 



SPALCmC'S ATHLETIC LIBRARY. 



EXTRACTS FROM LETTERS OF PROMINENT 
PHYSICAL DIRECTORS 

New Haven, Conn. 
W. G. Anderson, Associate Director Yale University Gym- 
nasium: "I believe in 'tumbling' as an exercise. It makes a 
man quick, agile, and very sure-footed. It is a form of sport 
that is popular and perfectly legitimate when properly taught. 
We have no good book on the subject, but need one. If such 
a work is to be presented to those interested in this subject, it 
ought to be written by a man who has had much experience 
in actual tumbling, who is familiar with the mechanism of the 
body, and who is educated. Dr. James T. Gwathmey, of Van- 
derbilt University, Nashville, Tenn., is just the person to 
compile a book on this form of gymnastics. He is a clever 
performer, a teacher of wide experience, and an educated 
physician. I have looked over the MS. of the Doctor's new 
book, and I indorse it." 

McGill University, Montreal, Canada. 
R. Tait McKenzie, M.D.: "I am glad to find some one 
ready and able to draw the veil from a branch of gymnastics 
which the professional acrobat has so long kept shrouded in 
mystery. The reducing of the various feats of tumbling to a 
progressive sequence, and the analyzing of the various com- 
binations, is indeed a difficult task; but your kinetoscope 
method of illustration will make clear what would otherwise 
require pages of description. Your work can not but assist 
any one of ordinary ability in mastering the rudiments of the 
art; but it will also appeal to the much wider field of all who 



SPALDING'S ATHLETIC LIBRARY. 51 

admire acrobatics, and will give them some idea of the diffi- 
culties mastered by the professional, whose work they will 
more fully appreciate. I wish your book every success." 

Ithaca, N. Y. 
E. Hitchcock. Jr.. M.D., Director of Department of Hygiene 
and Physical Training, Cornell University: "It has always 
seemed to me that this graphic method of instructing is the 
most useful, and I know that this subject in your hands will 
help enormously in instructing in a decidedly difficult branch 
of gymnastic work." 

Amherst, Mass. 
E. Hitchcock, M.D., Amherst College, Pratt Gymnasium: 
"In physical education, as in many other branches of mental 
and bodily training, there are some advanced branches which 
are adapted to the few and not the many. Acrobatic work is 
one of these. Hut it should be controlled, cultivated, and made 
good use of, like the other work, which may b*^ undertaken by 
anybody. It is a pleasure to know that a manual on this sub- 
ject is t3 be prepared and furnished for our use by one so 
capable to issue the book as is Dr. Gwathmey, of Vanderbilt 
University. We shall wait impatiently to get hold of it." 

Amherst, Mass. 
R. F. Nelligan, Instructor, Amherst College: "For sound 
men and boys tumbling is one of the best and most exhil- 
arating of exercises, when practised under favorable condi- 
tions. Of course tumbling on a brick sidewalk differs from 
tumbling on a hair-stuffed mattress, with the aid of the safety 
appliances while learning. It has been said that one can not 
learn after reaching maturity. This is not so, as many first- 
class tumblers did not commence until after reaching twenty- 
five. At the age of thirty-two I was induced to take up tum- 
bling under Dr. Gwathmey, and, with the aid of his safety ap- 



SPALDING'S ATHLETIC LIBRARY. 



pliances, succeeded in learning to do fairly well over fifty 
different movements and combinations." 



Kansas City, Mo, 
Carl Betz, Supervisor Music and Physical Training, Public 
Schools: "Your book, 'Tumbling for Amateurs,' which you 
have announced, will undoubtedly be hailed with delight by 
thousands of young American men who seek and find recrea- 
tion in this particular kind of exercise. The photographs that 
will illuminate the pages of your book will be of intrinsic 
value to amateurs, who usually have no expert teacher to ex- 
plain to them minutely each step of the exercise. If the ele- 
ment of danger in tumbling is greater than is consistent with 
the needs of physical education, as some claim it is, then 
your book, giving such minute instructions, and photographs 
of the body passing through the different stages of each ex- 
ercise, cannot fail to reduce that danger to a degree which 
every interesting gymnastic exercise must contain. I there- 
fore cheerfully recommend your interesting and timely little 
book to all who may wish to learn and practice the delightful 
pastime of tumbling." 

St. Louis, Mo. 
William A. Stecher, Secretary Technical Committee, Nord 
Amerikanischer Turnerbund: "I think that your undertaking 
is a very commendable one; for I believe that the greater the 
control a person has over his body — and tumbling undoubt- 
edly increases this — the better off he is. I wish you all suc- 
cess." 

Milwaukee, Wis. 
Frank Pflster, M.D., Editor Mind and Body: "Received your 
favor of the 7th inst., and congratulate you upon the idea 
of publishing a manual on tumbling, for nothing recommend- 
able exists in that line." 













^^^H ^^^^^^^^^^^H^^^^S 














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H^^^B ^1 




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SPALDING'S ATHLETIC LIBRARY. 61 

Springfield, Mass. 
Luther Gulick, M.D. ("History of Physical Training"), In- 
ternational y. M. C. A. Training-School: "Your letter of the 
7th is at hand, with the excellent cuts that were inclosed. You 
ought not to charge less than one dollar for the book, I do 
not know but what you could get more. I shall be very glad 
to purchase a copy of the book as soon as it is published. 
Please let me know." 



Chicago, 111. 
G. W. Ehler, Physical Director of the Y. M. C. A. of Chi- 
cago, Central Department: "There is a necessity for a good 
book on tumbling, as there is none now in print to my knowl- 
edge; and I believe that such a book w^ould meet with a very 
hearty reception by physical directors and by others who are 
interested." 

Boston, Mass. 
Robert J. Roberts: "I approve of your idea of getting out 
such a book as you speak of. I would keep out the dangerous 
exercises; or. If 3'ou put them in, hedge them in so that ama- 
teurs will not use them. There is no kind of physical work 
thi.t will so harmoniously develop every part of the body ae 
tumbling." 



Spalding's Athletic Library 



Ground Tumbling 



BY 
HENRY WALTER WORTH 

Fonnerly Physical Director of Armour Institute of Technology 
Chicago 




PUBLISHED BY THE 

AMERICAN SPORTS PUBLISHING COMPANY 



Copyright. 1919 



A¥EsiCAN Sports PuBLiSHiNa Cohpant 
New York 



INTRODUCTION 



Oh, do you remember, how, when a small boy 
in the country, in the months of April, May, June, 
July, August and September (it mattered little what 
time of the year it was, just so the ice was out of 
the water), you used to run to the river at a 
"twelve-second gait," make two simple twists of 
the wrist, thereby removing a waist and pair of 
trousers, and plunge into the water with speed 
equalled only by the rapidity with which you say 
your prayers on a cold night ? Of course you do. 
Great fun, was it not? 1 used to think there was 
nothing like it. 1 could not get into the water 
quick enough. That was before 1 learned to turn 
the " back " and the "flip," however. 

After 1 learned to turn the back and forward 
somersault, when 1 was about eleven years old, 1 
would linger on the bank, or soft sandy beach, 
"tumbling," until I saw the other boys coming 
out to dress, then I would dive in, swim a few 
strokes, just to say 1 had been in swimming, come 
out and dress with the rest. 

Like the proverbial "Wandering Willie," the 



66 SPALDING'S ATHLETIC LIBRARY. 

water lost much of its charm for me after I found 
what royal fun the turning and twisting on the 
bank afforded. I have wondered many times if 
the Almighty, when He created beaches like Man- 
hattan, Rockaway and Nantasket, making them 
slope gently down to the water, and put the soft, 
but not too soft, yieiding sand there, if He did not 
think how admirable they would be to "tumble" on. 

Anyone who has experienced the pleasure of a 
few "backs," "flips," "snap-ups,"etc., onthe soft 
sand, immediately after donning the light bathing 
suit, will agree with me that it is "great fun." 
And he who has never been taught, never practiced 
any acrobatic work, I hope will begin "easy" at 
first; a few simple feats and practice carefully every 
opportunity he has. 

I am sure whoever takes an interest, tries, and 
advances as far as the "round-off," "flip" and 
"back," will feel fully repaid for all the time passed 
in learning. He will find so many opportunities of 
performing, and it will be a means of great pleasure 
to himself, if not to his friends. 

Many of the acts can be performed in the parlor 
or in a very small space. However, they should 
never be practiced in the parlor. 

Now a few words upon the benefits, physical 



GROUND TUMBLING. 67 

and mental, derived from practicing tumbling. 

An expert tumbler has an everlasting faculty of 
always landing on his feet. If thrown from a 
horse, street car or carriage, like a cat that is 
dropped from a window, and the man who strikes 
a match on the sole of his boot, he always lights 
on his feet. There is a sort of wriggle or twist 
that a man who has practiced tumbling long can 
make in the air that will invariably bring him 
down feet first. 

The mental benefit is derived from the pleasure 
found in practicing, as all recreation is a mental 
benefit. I feel that all 1 could preach, say or sing 
about the benefit of any certain exercise would be 
feeble indeed. Boys and young men — and they 
are the ones who will probably be most interested 
in this book — are not appealed to by advice on 
"what they ought to do." They will never prac- 
tice any of the feats described in this book for the 
good it will do them. They know that plenty of 
sleep is good for them, and they know that tobacco 
is bad for them; but it makes no difference. 

This book is intended more for the boy who 
wishes to learn but does not know just where and 
how to begin. What we all need in this world is 
encouragement. I should like to encourage every 



68 SPALDING'S ATHLETIC LIBRARY. 

boy who wishes to learn. Don't be discouraged 
because it takes you so long to learn the hand- 
spring; when that is once learned, the other acts 
will be easier. 

Do you remember the comparative lines used by 
a baking powder company in advertising their 
baking powder? There was the long line reaching 
nearly across the page, representing this firm's 
powder, "Absolutely Pure." Then there was the 
next line, not as long, representing some other 
firm's powder — not as long a line, and not so pure 
a powder. Then there were other lines along 
down the list, shorter and shorter, until the last, 
which was only about an eighth of an inch long. 
Now, I think these lines might serve as an excel- 
lent illustration of the length of time it will require 
one to learn the different feats. Let the long line 
represent the length of time it takes to acquire the 
first trick; the practice for the first trick will help 
you with the second, the second with the third, 
and so on, so that when you have practiced and 
learned many feats the time required to learn each 
will grow shorter and shorter, although the acts 
grow harder. 

This rule will apply to all athletic and gymnastic 
work as well as to tumbling. 



GROUND TUMBLING. 69 

To boys who are apt to get discouraged I love 
to tell of a boy I knew in Chicago. He was far 
below the average in natural ability when 1 first 
knew him — awkward and clumsy— but he became 
interested in gymnastic work and kept "everlast- 
ingly at it." He fairly lived in the gymnasium. 
As a result of this faithful labor, in less than three 
months' time he participated in a gymnastic ex- 
hibition, turning a forward somersault through a 
blazing hoop. 

Practice, don't be discouraged! You will prob- 
ably never become as great an acrobat as one of 
the Nelson Brothers, but you will certainly find 
great pleasure and accomplish some good results 
by Ground Tumbling. 

The Author. 




No. 2. The Sitdown. 



DIRECTIONS 

(. The Switch. 

This is an act which is easily performed and 
affords much amusement for spectators. Stand in 
an erect position with hands hanging at sides, 
spring up a foot-and-a-haif from the ground and 
give a quick jeri< or switch with the body and 
come down facing in the opposite direction. Do 
not jump around. The turn is made by a twist 
of the body, not with the feet or legs. 

2. The Sit Down, 

Stand with the feet about one foot apart, bend 
over, keeping the legs perfectly straight, until the 
finger tips nearly touch the toes, then fall back to 
a sitting position on the floor. Do not bend 
the knees. If performed correctly this can be done 
on a very hard floor without hurting the performer 
in the least. (See illustration.) 

5. The "Back Roll. 

Performed the same as No. 2, only instead ck. 
stopping at the sitting position the performer rolls 



GROUND TUMBLING. 73 

back on the shoulders and head, and with the use 
of the hands comes to a standing position on feet. 

4. The Fish Flop. 

Lie on stomach, feet close together with the toes 
touching the floor. Place hands on sides, near 
ribs, flop over onto back with help of hands and 
feet, keeping the body perfectly rigid. (See illus- 
tration.) 

5. The Front Roll. 

Stand with heels close together, toes turned out. 
Bend over, place hands on floor about one fo*^* 
apart and about a foot-and-a-half in front of feet, 
bend head in toward body and touch the back 
of head on floor between hands and, with a push 
from the feet, roll over on back and up onto feet 
again. " Curl up " in doing this act. Bring feet 
well under body. 

6. The Cart Wheel. 

Stand erect, throw left hand hard down on the 
floor, about two feet from the left foot, follow with 
the right hand, two feet from the left hand, then 
the right foot down about two feet from the right 
hand, and so on. The feet and hands should be 
placed as nearly on a straight line as possible. 



GROUND TUMBLING. 76 

Arms and legs moving like the spokes in a wheel, 
hence the name. 

7. The Round-off. 

This may be done with either running or stand- 
ing start. Strike hands on ground in front of feet, 
letting the left strike a little before the right, as in 
the cart-wheel. Place them about ten inches 
apart, at the same time swing the body over and 
around, so as to land in a sitting position directly 
opposite the one in starting. 

5. The Handspring. 

Possibly the most common acrobatic feat. May 
be done from running or standing start ; strike 
hands hard on the ground, turn head under and in, 
throw feet over head and as they begin to come 
down give a hard s|pring or push up with the 
hands, curling feet down and back under body 
and coming to standing position, facing the same 
way as when starting. 

9. The One-hand Handspring. 

Same as No. 8, except that but one hand is used. 
The weight of the body should be brought well 
over the hand used, 



GROUND TUMBLING. 77 

lo. the Headspring. 

Instructions same as for No. 8, only the spring 
is made from the head instead of the hands. (See 
illustration.) 

//. The Snap Up. 

Lie on back, carry feet up and back over head 
so that the toes nearly touch the ground, bearing 
the weight on the back of head, neck and should- 
ers. The hands should be placed on the ground 
near shoulders and neck. Give a quick hard whip 
with the feet and legs over toward first position 
and a hard snap or push up with the neck, should- 
ers and hands. With a little practice it can be 
done without the aid of the hands. It is a pretty 
act and a good " finish " to every act ending with 
a fall on the back. (See illustration.) 

12. The Elephant Walk. 

A comical contortion act. Place hands on floor 
in front of feet as near to toes as possible. Do not 
bend the knees. Walk. 

1^. The Long Dive or Lion's Leap. 

This is a long dive made on the mats or some 
soft place, much as one dives into the water. 
Take a short run, strike both feet at the same time 



78 GROUND TUMBLING. 

on a spot about five feet from the mat, make a 
dive toward the centre of the mat striking first the 
hands, then the head (which should be well turned 
down and under), allowing the force of the dive to 
be about equally divided between the hands, neck, 
head and shoulders. Curl up well as in No. 5. 

14. The Hop Over Hand and Foot. 

Grasp left foot with right hand, with thumb of 
right hand under great toe joint; fingers of right 
hand over top of toes with backs of fingers up. 
Jump over hand and foot with right foot. The 
point to be observed in performing this trick is to 
keep the right hand and left foot perfectly still 
while jumping with the right, if moved, they are 
apt to trip the foot when jumping. This is excel- 
lent practice in developing quickness in handling 
the feet, which is an important factor in tumbling. 

75. The Hop Back. 

Jump back to original position from finish of No. 
14. Try the same trick with both feet over and 
back. 

16. The Jump Over Stick in Hands. 

Practice this with a cane or rattan that can be 
bent do-^vn while jumping over. Grasp stick with 



GROUND TUMBLING. 79 

ordinary grasp, hands placed as far apart as the 
width of shoulders. Jump over stick between 
hands, keeping stick in hands. Jump back. 

ly. The Jump Over Hat. 

Same as No. 16, except jump is made over hat 
held in hands. 

18. The Jump Over Raior-Blade. 

This should never be practiced until the per- 
former can successfully jump over short lead pencil 
held in hands. It is a "stage trick" that takes well 
arid usually makes a hit. It should be done with a 
razor-blade so dull that if struck with the feet it 
would do no harm. Hold the blade of the razor in 
the hands so loosely that if tripped upon by toes it 
would easily slip from hands without injury. 

ip. The Jump Over Hands. 

This is one of the prettiest and most difficult acts 
that is performed. Entwine the fingers together 
and jump through the arms and over the hands. 
It may take months of practice to get this feat, but, 
when once learned, the legs will be so supple and 
quick that nearly all other acrobatic feats will come 
easier in consequence. (See illlustration.) 




No. 19. The Jump Over Hands. 



GROUND TUMBLING. 81 

20. The Twist Handspring. 

Performed the same as No. 8, only, after touch- 
ing the hands, the body gives a quick turn or 
twist to the right or left so as to finish the act 
facing in position used in starting. 

21. The Twist Snap- Up, 

Same as No. ii, only the body gives a quick 
turn or twist to the right or left after the shoulders 
leave the ground so that the finish is made op- 
posite the position taken in starting. 

22. The Cradle. 

First do the snap-up. No. ii, and immediately 
after landing fall back onto the shoulders, neck, 
head and hands as in the snap-up, then snap b?"*'' 
to feet and continue to rock back and forth. 

2j. The Kicking Jackass. 

Stand with heels close, together, jump onto 
hands, with the feet carried well back and the 
back arched. Then spring (not fall) back to the 
feet from the hands and continue the movement. 
Be sure that the feet leave and strike the ground 
together, also the hands. Do not "crow-hop," 
that is, don't strike first one foot and then the 
other, a sort of "ker-flap," "pit-pat" sound. 



GROUND TUMBLING, 83 

24. The Curl. 

Stand erect, fall slowly forward on the hands, 
keeping the body perfectly straight. Break the 
force of the fall by letting the arms bend slightly, 
but straighten them immediately. Curl up, bring- 
ing the knees well up toward the chin and carry 
the feet through between the hands, not letting 
them touch the floor; extend legs in front of arms, 
curl up again, carry feet back through hands and 
straighten into the "handstand." This is a diffi- 
cult feat, but it may be practiced with perfect 
safety. It is excellent practice for developing the 
muscles of the stomach and abdomen. (See illus- 
tration.) 

25. Running Forward Somersault. 

Take a quick run of about twenty yards, strike 
both feet together on the mat or floor. Jump well 
into the air, duck the head down and in, and try 
to describe a half circle through the air, with the 
feet landing in a position, the same direction as 
when starting. It is well to practice this over a 
very soft place, having a board or some hard object 
to turn from and land into hay, shavings, soft sand, 
sawdust or tan-bark. When one has a soft place 
on which to practice he should go at it boldly; he 



SPALDING'S ATHLETIC LIBRARY. 85 

will then be less apt to jar himself. A quick hard 
run is the important thing, and a leap of about five 
feet should be made before striking the take-off. 
(See illustration.) 

26. The Back Somersault. 

This is done from a standing position. Get two 
men to hold you up while trying. The "lungers" 
that are generally used in the gymnasium — 
"coward-strap" they are called — may be used with 
perfect safety. However, I think the best kind of 
strap is a long strong towel. 

Stand firmly with the heels about four inches 
apart, spring up as high as possible, throw the 
head back and down and try to describe a half 
circle with the feet landing in a position facing the 
same way as when starting. This should be 
performed with a " cut," that is when the feet get 
well over the head catch the legs back of the 
knees and pull them down under the body. The 
way of using the hands in performing the back 
somersault will gradually come to the performer 
with practice. 

27. The Flip. 

Sometimes called "Back Handspring." Should 
be practiced over a moderately soft place. Stand 



86 GROUND TUMBLING. 

with the back to the mat. Sink down so that 
knees come within a foot of the floor in front 
of feet. Throw the hands and head back. Strike 
hands on floor, about six inches apart, in a 
position such as is held while walking on hands. 
Do not let the head touch the ground. Then 
throw the feet up over the head and hands, describ- 
ing a half circle, finishing facing the same way 
as when starting. Use the stomach and abdomen 
muscles when performing this act. Do not let the 
feet leave the ground until the hands are firmly 
placed. 

28. The Twister. 

This is No. 26, the back somersault, with a half 
turn to the right or left, so that the finish is made 
facing in an opposite position from the position 
in starting. It is well in practising this act to 
try and turn just a little at first, then an inch 
further, and so on until the complete half turn is 
made. 

29. The Twist Flip. 

Same as No. 27, the "flip," only a half turn is 
made from the hands so as to finish facing in an 
opposite direction from that taken when starting. 



SPALDING'S ATHLETIC LIBRARY. 87 

SO. The Spotter. 

This is the back somersault turned in such a 
way as to finish with the feet in the same spot 
they were when starting. It is best acquired by 
trying to mai^e each finish nearer and nearer to the 
starting position. 

J/. The Gainer. 

Same as No. 30, except that the finish is made 
with the feet striking in front of the starting posi- 
tion. 

J2. The Tuck-up. 

This is a high back somersault performed with- 
out the "cut." It is usually done as a finish to a 
succession of " flips." 

SS- The Standing Forward. 

This is the forward somersault performed with- 
out a run. To do this one must jump high into 
the air, turning as he would in the running for- 
ward and "cut" by catching the legs in front, just 
above the ankles, and drawing them under the 
ankles. It is a difficult act. 

S4. The Half Forward. 

The first part of this act is performed as in No. 
25, only, instead of having the feet describe a 




No. 35. The Half Back. 



GROUND TUMBLING. 89 

circle over the head, they stop in the air aoove 
head, and the landing is made on the hands. It 
is, in fact, a sort of jump or dive on the hands and 
stand there. 

J5. the Half Back, 

Like No. 26, only the finish is made onto the 
hands and the body balanced there. Instead of 
turning all the way around, jump back onto the 
hands and stand there. (See illustration.) 

This concludes the article on "single acts." In 
the next chapter I will describe how the acts can 
be suitably combined. A clever performer can 
make combinations other than these. In fact, 
there are an endless variety of combinations that 
can be made with the acts here described. Space 
will not allow of a longer or more thorough de- 
scription. 



36. 

37 
3S 
39 
40 

4' 



COMBINATIONS 

A succession of No. 5. 

A combination of Nos. 2 and 3. 

A succession of No. 6. 

A combination of Nos. 2, 3, 4 and iio 

A combination of Nos. 1 1 and 8. 

A combination of Nos. 10 and 6. 



90 • SPALDING'S ATHLETIC LIBRARY. 

42. A succession of No. 8, 

4^. A succession of No. 11. 

44. A succession of No. 10. 

^5. A combination of Nos. 7, 2 and 3. 

46. A combination of Nos. 7, 2, 3, 4 and 11. 

^7. A combination of Nos. 7, 2, 3, 4, 11 and 23 

^5. A succession of No. 21. 

^9. A combination of Nos. 8 and }}. 

^o. No. 13 tiirough hoop. 

5/. A combination of Nos. 7 and 26. 

52. A combination of Nos. 7 and 27. 

5J. A combination of Nos. 23 and 26. 

54 A combination of Nos. 24 and }}. 

53,-. A combination of Nos. 7, 27 and 26. 

5<5. A combination of Nos. 7, 27, 26 and ^). 

^j. A combination of No. 7 and a succession oi 
Nos. 27 and ^2. 

^8. A succession of Nos. 8 and 34, then a succes- 
sion of No. 27. 

59. A combination of No. 7, a succession of Nos. 
27 and 28, then a succession of Nos. 27 
and 32. 



;CEPT NO 
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"Olymple Championship" Walking Shoe* 

^No.l4W. For competition and match race*. 

Same as used by all champion walkers. 



»■ ^.-. „ w Spalding Outdoor Running Sheet 

No. 1 IT. Calfskin, machine made; »oLd leather tap sole holds spikes firmly i 

No. II. Strong leather, machine made. 

• • Spalding Indoor Running Shoes 

No. 111. Calfskin, special corrugated rubber soles with spikes. 
No. 112S. Good leather uppers and leather aoles, short spikes. 
No. 112. Good leather, jubber tap soles. Nospikes. . 
No. 1 14> Leather uppers; rubber tap soles. No spikes. 

. Spalding Indoor Jumping Shoes . 
^0.210. Good quality leather uppers; rubber tap solesandrubbt/lieela. 
No, 210S. Like No. 210. but with spikes. 

Spalding Chamois Pashers 
No. 5. Fine Chamois sldn. 
should be used with run- 
ning, walking, jump^ 
ing and other 
•thiejic shoes. 




Rubber Heels to be Put Inside . . 

No. E. Inside rubber heels for jumping, hurdling and pole vaulting shoes. 

Cork Athletie Grips 
Nat. Selected eoric shaped. 

Spaldint "DrUool" Iciaik. nppen of iJI nnmlaselioes soft and pliaUe 




riOMPTtTTEIITIONSIVENTOl 

MY COMMUmctTIOIIS 

MDRESStPTOr 



A.G.SPALDING & BROS. 

STORES IN ALL LARGE CITIES 



FORCOMPl£TEll$TOf$TI»£S 

£ INSIDE FRONT COVEI 

8f THIS BOM 



fRlCSS SUBJECT TO CHANGE WITHOUT NOTICE. F.> 








N TRACK AND FIELD 

sports Spalding implements 
have been pre-eminent. 
From the running shoes for 
Olympic winners to the mis- 
siles of hammer and weight 
throwers, Spalding goods are 
always in evidence when 
championships are won or 
records made. 



The ruling bodies in European track and 
field athletics certify to Spalding Quality in 
the recognition of Spalding implements for 
use in Olympic and Championship contests. 



Don't be led astray by the 
false cry of cheapness and 
"just as good." Remember 
that superiority in competi- 
tion is the result of Quality 
in equipment. 



LIBRftRY OF CONGRESS 

IHlii 

005 823 190 3 i 



'i\XQ booK covers every Athletic 
and is Official and Standard 




rtUUiS,1904 ^^ A jTV Ay JLI 1 IN VJ PARIS 1900 

ATHLETIC GOODS 

RF. THE STANDARD OF THE WORLD 



A.e -Spalding ® Bros. 



CHICAGO 



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